Feeds:
Posts
Comments

Archive for the ‘What ho!’ Category

Having now completed forty-six circumambulations around the sun, perhaps it is time for a little reflection.

Is there a connection between a spicy street food item known as the phuchka and financial management, a critical but bland and dry aspect of our lives?

For the uninitiated, let me hasten to add that the term phuchka refers to those mouth-watering tiny hollow spheres of wheat flour or semolina, duly stuffed with spicy fillings of mashed potato, chickpeas, and finely chopped onions, served with tangy water flavoured with many kinds of additives, the two most popular ones being mint/coriander and tamarind. Yes, you could also know of it being referred to as puchka, golgappa, pani puri, gup chup, or pani ke batashe, depending on which area of India you happen to be in.  

This reflection of mine is not about the financial aspect of either production or marketing of the humble phuchka. Nor is it about the seething frustration and helplessness that our tax sleuths experience owing to their inability to bring the street-cart owners merrily peddling their delectable stuff within the ambit of our tax laws. A vast majority of such vendors do not appear on their radar, simply because they do not file income tax returns. If our financial mandarins ever decide to bring the serving of phuchkas under the notoriously complex Goods and Services Tax instead, all hell may break loose. Housewives of all hues, sizes, and shapes will surely register a protest by refusing to cook at home, unless they too get compensated for rendering homemaking services.

Uncle Tom, had he been around, would have loved to suggest to Aunt Dahlia to shut down the publication of Milady’s Boudoir. He would have persuaded her to instead get into the highly profitable activity of selling phuchkas and save taxes for the family.

Rather, this rumination of mine is essentially about the financial gains made by me when I was a hormone-rich youth and had the wisdom not to deploy the phuchka as one of the tools in my arsenal to woo prospective girlfriends. Whether that ‘wisdom’ (if that is the term I want) ultimately improved my finances is another matter, to which I shall soon return.      

The India of My Youth

I cannot speak for the members of the tribe of the delicately nurtured, but as a male child growing up in an average middle-class family in Bengal, I was initiated fairly early into a particular skill which, I suspect, was taught with remarkable consistency to a great many Indian boys of my generation, though never, so far as I remember, appearing on any school syllabus.

The ideal was something approaching the old English butler: whatever volcanic disturbances might be taking place within the soul, outwardly one was expected to preserve what those books, in their gloriously dated way, might call ‘the easy insouciance of a Red Indian at the stake’.

The finished product of this training was generally described, with considerable approval, as a man with nerves of steel.

Anyone brought up in a similar atmosphere will appreciate that the “English-butler” condition cannot be acquired in a single sitting.

It requires practice.

A great deal of it.

It therefore occurred to me fairly early that falling in love might impose an unreasonable additional workload upon an already overburdened emotional-control department.

Love, from what I could gather, involved uncertainty.

There could be misunderstandings.

There could be decoys.

There could be rejection.

There could even be acceptance, which, on closer inspection, seemed to create an entirely new category of problems.

And then there were parents.

One must remember that, in the India of my adolescence, being caught in a romantic relationship could acquire approximately the social atmosphere of being caught attempting to tunnel out of prison.

The unfortunate captive was only the beginning.

The family became involved.

Relatives became concerned.

Neighbours who had shown no interest in one’s welfare for eleven years suddenly developed intelligence-gathering capabilities that would have made the detectives at Scotland Yard sit up and take notice. Privacy, in such circumstances, existed chiefly as a philosophical concept.

I could quite imagine my father opening the morning paper and finding this headline staring him in the face.

This, I felt, was publicity of entirely the wrong sort.

In any case, I had no ambition to follow Bingo Little in flitting from one romantic enthusiasm to the next in his pre-matrimonial phase of life. A young man intent upon his education had quite enough on his plate, leaving him little time for concerts, museums, Spinoza and the Bhagavad Gita, let alone for escorting a lady through a crowded Chowringhee (or any part of Kolkata) by-lane where the phuchka sellers lay in wait. A visit to a movie hall once a quarter, and that too in parental company, was considered luxury enough to keep frivolity within “acceptable limits” — limits which, my wife now assures me, already bordered on parental extravagance.

The perks and the perils of feasting on phuchkas

I confess that, in principle, I have nothing against the humble phuchka. It provides carbohydrates, protein and fat-soluble vitamins – a combination that would leave even someone fussy like Laura Pyke nodding in approval.  Moreover, it also provides a vigorous practical course for the immune system, being frequently accompanied by water whose parentage does not always encourage detailed inquiry.

The more serious difficulty, I understand, is stopping once proceedings have begun.

Phuchka, however, is more than food. I strongly suspect that its stalls are among the great unofficial witnesses to romantic history in Kolkata and elsewhere. Registrars record marriages. Courts record divorces. But it is the phuchka stall owner who knows what happened in between. Had he kept minutes, several histories of Indian courtship might by now have been considerably better documented.

Economically too, it is admirably suited to the purpose. For generations of young couples, it has offered a remarkably attractive romance-to-capital-expenditure ratio. One could meet, talk, eat and return home without requiring institutional finance.

I have sometimes thought that phuchka possesses certain further advantages which the romantically inclined might appreciate better than I do. A man may also gaze into his lady love’s eyes with the sort of attention Wordsworth reserved for daffodils, while being recalled now and then to earthly affairs by tamarind, chilli and spice upon the tongue. Even Wordsworth, I suspect, might have relished the interruption.

And if the lady prefers the next round hotter, the gentleman may request an additional touch of chilli with something of the old knightly spirit. The treasure is modest, and the journey to the seller does not normally involve dragons, but these are details. To a man in love, I imagine, gallantry has always been less a matter of distance travelled than of the lady being pleased at the end of it.

However, my Guardian Angel had thoughtfully provided me with my own defences. I have always had an apprehension about tangy things, and the tamarind water formed the first barrier.

I have often observed what happens to others when the aroma from a phuchka stall invades their olfactory nerves.  Their eyes bulge. Their mouths water. Some primitive mechanism appears to seize executive control of the nervous system and redirect the entire person towards the source.

Nothing similar occurs in my case.

My nervous system receives the information and merely files it.

As I grew older, hygiene joined the prosecution, though by then the case hardly required further evidence.

I have therefore been forced to accept that I may be one of the very few Bengalis entirely untouched by the emotional power exerted upon Homo sapiens by the humble phuchka.

Indeed:

I am as ignorant of this dish as an elephant is of modest self-presentation.

The economics of not having splurged on phuchkas

I therefore chose what appeared to be the safer road and, in my hormone-rich years, diligently avoided spending money on phuchkas.

Robert Frost had his Road Not Taken.

I had mine too, though mine contained fewer yellow woods and rather more parental surveillance.

Looking back from forty-six, I have discovered something which Frost, so far as I know, neglected to mention.

There was money in it.

And this brings us, inevitably, to the accounts.

A self-audit would plainly lack the necessary objectivity which an independent auditor may bring to the table. I therefore placed the matter before McCay of the Cape Pleasant Club, a chartered accountant whose professional qualifications were, fortunately for the case in hand, accompanied by a distinctly romantic temperament.

Independent Auditor’s Report on Romantic Phuchka Escapades

Period under Review: Age 14 to Age 46

We have examined the financial consequences of the Subject’s youthful decision not to employ phuchka as an instrument of courtship.

The accounts disclose the following:

Potential romantic engagements avoided: 1,664
Estimated plates thereby not consumed: 3,328
Average value adopted per plate: ₹30
Total expenditure avoided: ₹99,840

Rounded in accordance with Generally Accepted Principles of Convenient Arithmetic:

₹100,000

The auditors note that this result was achieved without budgeting, investment planning or any recognisable financial discipline.

The principal method appears to have been: Nothing happened.

Supporting Evidence

Management was asked to produce girlfriend records, love letters, dating histories, joint photographs or credible third-party evidence of phuchka-induced courtship.

None was produced.

Ordinarily this would constitute a limitation of scope.

In the present case, it was considered unusually persuasive evidence.

Phuchka-Linked Romantic Asset: Not Identified.

Items Not Provided For

The above figure relates to phuchka alone and makes no allowance for:

  • The unexpected second plate,
  • Subsequent gobbling up of aloo tikki, dahi-puri and allied chaat items,
  • Tea on account of rain,
  • Transport,
  • Birthday and anniversary provisions,
  • Gifts purchased after being specifically informed that no gift was required,

or that highly volatile instrument: “I don’t want anything.”

Nominal value: ₹0
Actual exposure: Unknown
Risk classification: Emotionally Leveraged

Parental intervention, neighbourhood surveillance and emergency family consultation have likewise not been valued.

Auditor’s Opinion

The Subject’s performance in phuchka-linked courtship has been poor.

His cost control has been admirable, though he scores poorly in terms of Return on Love.

Return on Love: 0%

Return on Not Falling in Love: approximately ₹100,000

Few enterprises, in the auditors’ experience, have achieved thirty-two years of exemplary restraint with so little active management.

Signed,

McCay
Chartered Accountant and Secretary, Cape Pleasant Club

Department of Unrequited Accounts

I therefore closed the accounts with something of the serenity which, perhaps, descended upon the Buddha beneath the Bodhi tree. However, the outcome in my case was, admittedly, of a rather more mundane order.  Stilton Cheesewright, who had once temporarily come under the influence of Buddhism, would have heartily approved of my sentiments.

There it was in black and white: my early decision to steer clear of romantic entanglements had apparently produced a surplus of approximately ₹100,000.

Not bad.

Then, unfortunately, I made the mistake of thinking further.

What if the money had been invested?

My first calculation, attempted with roughly the degree of financial sophistication that has characterised several of my actual investments, was tremendously encouraging.

₹100,000 compounded at around ten per cent annually for thirty-two years could, under sufficiently friendly assumptions, become roughly:

₹2.1 million!

This was no longer phuchka money.

This was a financial philosophy.

For one brief, intoxicating moment, what I had mistaken for romantic underachievement began to resemble an investment strategy of extraordinary crudity.

A stark realisation dawned. The savings had accumulated gradually. The full amount was not sitting obediently in my pocket on my fourteenth birthday awaiting deployment into a diversified portfolio.

The ₹2.1 million was therefore what accountants might call an aggressively optimistic scenario.

A modest monthly investment scheme, begun early and regularly fed with the expenditure avoided, might nevertheless have done the trick.

And this, I confess, annoyed me more than the absence of romance.

Over the years I had apparently exercised admirable control over oxytocin and absolutely none over asset allocation.

Nobody had mentioned that avoiding expenditure was only half the job.

One was expected to invest the blasted thing afterwards.

There is perhaps a little philosophy buried here after all, though I have serious doubts if someone of the calibre of Stanley Featherstonehaugh Ukridge would have approved of it. I suspect he might instead have established a Lovers’ Opportunistic Fund, into which people like me would have poured their phuchka savings, only to discover that he had decamped with the corpus and started a chicken farm in Switzerland.    

We spend a surprising amount of life congratulating ourselves for avoiding one danger, only to discover that safety itself came with instructions nobody informed us about.

I took the safer road.

And, with admirable consistency, failed to invest the proceeds.

Thus, at forty-six, I carry one additional piece of wisdom.

Somewhere along the journey, I may have misplaced a perfectly respectable investment portfolio.

It appears, after all, that controlling oxytocin was the easy part.

Controlling capital required a maturity for which the auditors, even at forty-six, have found insufficient evidence.

What do you think, eh?

Related Posts


Read Full Post »

Read Full Post »

Read Full Post »

Read Full Post »

Read Full Post »

Read Full Post »

On the brightly lit beach road of Pondicherry, one is apt to run across a wide variety of people of different hues, sizes, and shapes.

There are the casual ones who can be found munching on a snack and gazing ceaselessly at the ocean’s waves, as if contemplating the divine. A bunch of wide-eyed youngsters bonding with each other could get spotted. Young couples murmuring sweet nothings in each other’s ears might be sitting in secluded spots, blissfully unaware of the goings on around them. One could also run into a few impeccably dressed newlyweds, sharing a bar of ice cream, with dreams in their eyes. One notices families whose kids are enjoying their evening out, with hassled parents in tow, making futile attempts at curtailing their sprinting ambitions.

Elderly persons, comfortably perched on the boundary wall, can be seen enjoying the mild south-eastern breeze caressing their mortal frames. Some might be huddled in small groups, perhaps sharing notes on the condition of the lining of their stomachs. Groups of elderly ladies can be spotted, animatedly discussing between themselves either the kind of cruelty they suffer at the hands of their daughters-in-law or the severity of the knee pain they bear.

Besides leisurely walkers enjoying a saunter down the road, one is apt to see spirited pedestrians trying to achieve the daily quota of brisk walking prescribed by their physicians. Newton, were he to witness the scene, would heartily approve of their nimbleness in deftly trying to avoid colliding with the ones coming from the opposite side. After all, this reaffirms Nature’s law that a given spot on a given plane shall at a given moment of time be occupied by only one body. A couple of fitness enthusiasts cast in the mould of Ashe Marson can be noticed vigorously doing Larsen exercises at different spots.

The benign gaze of Mahatma Gandhi keeps encouraging all those present to spend more time on the beach road. Diagonally across, the well-lit old lighthouse beckons all those feeling lost in existence, motivating them to keep navigating through the choppy waters of life wisely and be clear and persistent about the goals to be achieved.

Managers in hotels and restaurants can be seen perspiring, trying to manage the queue of weary walkers trooping in, looking for some nourishment to put down the hatch. Behind the Promenade Hotel, one can see unruly crowds of customers gorging on tangy snacks being served by carts peddling street foods of all kinds.

Just a stone’s throw away stands the majestic structure of Raj Niwas, the office-cum-residence of the Lt. Governor of this union territory. On the back side, nestled amongst other buildings, one can easily find ‘Surguru Spot’, an establishment which serves South Indian cuisine. It offers only vegetarian fare, though one does not know whether the inspiration for the same comes from the poet Percy Bysshe Shelley or from Madeline Bassett.

As opposed to the boisterous surroundings one experiences on the beach road, the ambience inside the hallowed establishment known as ‘Surguru Spot’ is sombre, serene, and cosy. On the day in question, the place was full of customers who had permitted their greed to win over prudence. They could be seen wolfing down a wide range of South Indian delicacies.

Into the hall walked a fan of Plum’s, handsomely upholstered like Eve Halliday. An editor of impeccable reputation, she might as well be assisting Aunt Dahlia in running Milady’s Boudoir. To identify yours truly, sitting huddled in a corner with a morose expression on his visage, was the work of a moment for her.

When Plum fans meet, it always feels as if one has met a long-lost bosom pal. Books get discussed. Challenges faced by editors are mentioned. Life’s vicissitudes get shared. Movies come up for a loving mention, especially the ones which have loads of subtle humour. Characters created by the Master and many of his books come up for a detailed analysis.

Suffice it to say that it turns out to be a feast of Reason and flow of Soul, which is never punctuated by intervals of uncomfortable silences that arise when those meeting each other for the first time come together.

The more, the merrier, you might say. But I wonder if the number of fans present at such an impromptu meeting of the Drones Club really matters. To me, what is far more important is the depth of discussion, as well as the wide range of topics covered.

Of course, one winds up such a meet with the fond hope that in the future, a few more fans who might be hiding themselves well in a small city like Pondicherry may also get prompted to join in the festivities. Throwing medu vadas duly soaked in delectable sambhar at ceiling fans could also be fun, right?!

Related Posts

https://ashokbhatia.me/2025/02/19/the-myriad-challenges-faced-by-publishers-and-editors-in-plumsville
https://ashokbhatia.me/2016/04/20/the-travails-of-a-non-resident-pondicherryite
https://ashokbhatia.me/2023/05/29/when-anatole-goes-off-to-pondicherry-india

Read Full Post »

“But behind your achievement, the achievement of another remains…”

Feluda (“The Elephant God”)

In my schoolboy days, I once declared in an essay that Satyajit Ray was my favourite writer. Decades of reading have done nothing to dislodge him from that position. I have wandered through considerable literary territory since then—from Tolstoy to Tagore, from Borges to Bankim—and yet I return, always, to the particular flavour of Ray’s Bengali prose. Some will say this merely confirms that I never truly outgrew the garden walls of children’s literature. Perhaps. But to reduce Ray to Feluda and Professor Shonku is rather like insisting that a master chef is only to be judged by his breakfast menu. His short stories are every bit as accomplished, every bit as precise. Even his novel Fatickchand—into which he poured what one suspects was a deliberate effort to deny the reader any cause for tears—leaves, in the final pages, a bruise upon the heart that no amount of re-reading quite soothes.

A true storyteller, it seems to me, tells his tales with equal fluency across every medium available to him. Ray’s cinematic grammar is as fascinating as his prose, and the charge that his sensibility is somehow “Western” has always struck me as less a criticism than an inadvertent compliment. It was, in fact, that very Western flair which drew me deeper into his work—and led me, eventually, to a discovery that illuminated yet another facet of his genius.

The Screenplay and the Secret Admirer

Today I wish to set aside Ray’s directorial masterpieces—the Apu Trilogy, Charulata, Jalsaghar—and speak instead of a film in which he served not as director but as screenwriter and music composer. That film is Baksa Badal (1970) -literally, “The Exchange of Suitcases”—directed by Nityananda Datta and based on a story by Bibhutibhushan Bandyopadhyay. I have read the original story. I have seen the film. And I confess that the film, carrying Ray’s fingerprints on every scene, gave me a pleasure the source material alone could not.

The plot, briefly: Pratul, a psychiatrist, boards a train and encounters a young woman named Amiya. Upon arriving at his solitary quarters in a tea garden, he opens his suitcase to discover it belongs to a lady—silks, saris, and the unmistakable evidence of feminine proprietorship where his own belongings ought to be. The culprit is the oldest of railway comedies: the swapped suitcase. Fortunately, Amiya’s uncle’s address is tucked inside, and Pratul dispatches the bag to him in Kalimpong—the uncle being a botanist of the most magnificently unworldly variety. Amiya, meanwhile, has discovered the swap and is in pursuit of her property. What had been a simple exchange of luggage becomes, of course, something considerably more complicated—and considerably more enjoyable.

Now: what was in Amiya’s suitcase that makes this comic engine run? Not jewels. Not state secrets. Women’s clothing, homemade sweets, and—most dangerously of all—a personal diary, whose candid entries begin to sketch for Pratul a portrait of the woman he has never met. It is precisely this detail—the magnificently Wodehousean notion that a suitcase becomes a character reference—that lifts the film from pleasant entertainment into something approaching art.

Enter Plum

From an interview with Ray himself and later confirmed in Bijoya Ray’s memoir Amader Kotha (A commentary on Ray’s family life with his wife), came the revelation that explained so much: Ray’s favourite author was P.G. Wodehouse. Several veils lifted at once. The “smartness”—that unique  quality of elegant mischief I had always sensed in Ray’s work without being able to name it—had a source. As Wodehouse himself once wrote: “I believe there are two ways of writing novels. One is mine, making a sort of musical comedy without music.” Ray, I would argue, understood this instinctively, and in Baksa Badal he composed precisely such a comedy—Bengali in its bones, Wodehousean in its spirit.

The Cast of Characters, Translated

The changes Ray made in adapting Bibhutibhushan’s story into a screenplay are where the Wodehousean influence declares itself most openly.

Pratul is the linchpin. In the original story, he is an unremarkable fellow on a train. In Ray’s version, he remains a traveller, but a traveller of considerable resource and ingenuity. He does not merely return the suitcase; he arrives at the lady’s house in disguise—deploying the sort of elaborate subterfuge that Wodehouse heroes (and villains, and valets) often resort to.  To my mind, Pratul is much likely  akin to Psmith: that magnificently unflappable young man who, in Psmith in the City, Leave it to Psmith, and elsewhere, glides through many a catastrophe with a raised eyebrow and a well-turned sentence. Psmith is intelligent, fundamentally decent, and possesses what one can only describe as an almost supernatural capacity for crisis management—all qualities that Pratul’s character shares with him. There is also, in Pratul’s moments of quiet wit, more than a little of Jeeves: the man who sees further than everyone else in the room and arranges outcomes with the serene competence of a chess grandmaster.

Shovan is an invention entirely Ray’s own—he does not exist in Bibhutibhushan’s original. And what an invention it turns out to be! Played with a perfection that still disarms audiences today by Satindra Bhattacharyya, Shovan is positioned as the conventional “thorn in the hero’s side.” But Ray, being Ray, refuses the conventional treatment. Shovan is not a villain. He is something far funnier and far more human: a well-meaning, chronically disorganised, constitutionally forgetful innocent who creates havoc not through malice but through a congenital inability to manage his own affairs. He is, in every sense, like  Gussie Fink-Nottle—Bertie Wooster’s hapless friend, the newt-fancier, a man whose romantic difficulties and spectacular social mishaps provide the engine for some of Wodehouse’s finest passages. The film’s perfectly Wodehousean irony—and one suspects Ray savoured it—is that Shovan goes, entirely unwittingly, to his own romantic rival for what we might today call life coaching. Gussie himself could not have managed it better.

This matters enormously from a craft perspective. Traditional comic construction demands a powerful antagonist to make the hero shine. Ray understood, as Wodehouse understood, that a more sophisticated comedy arises when the “obstacle” is not wicked but simply hapless—when the hero must defeat not malevolence but  a dash of pumpkin-headed-ness. It is a far more charitable worldview and a far more entertaining one with absolute warmth.

The Uncle—absorbed in his botanical specimens with a serenity impervious to surrounding drama—is Lord Emsworth to the life. Emsworth, the ninth Earl of that ilk, was Wodehouse’s great monument to benign incompetence: a man so thoroughly enchanted by his prize pig, the Empress of Blandings, and his garden, that the turbulent comedy erupting around him might as well be occurring on another continent. Ray’s uncle achieves precisely the same effect: while a romantic catastrophe unfolds under his roof, he nurses his plants with the focused tranquillity of a man who has simply declined to notice that the world exists.

Amiya completes the quartet in the manner of Wodehouse’s Joan Valentine or, in her drier moments, Sally Nicholas: the woman who is the only person in the room capable of matching the hero’s intelligence, who wields a quiet, lethal humour, and who loves the hapless third party (Shovan, in this case) with the exasperated affection of an elder sister rather than the romantic devotion of a heroine. This is where Ray—faithful to his Plum—refuses sentimentality. She scolds Shovan as a mother might; she respects Pratul as an equal. The emotional geometry crafted by Ray is Wodehousean in its precision.

The Moustache Gambit and Other Plummy Pleasures

One cannot leave Baksa Badal without observing the running comedy of the moustache—a joke that begins when Pratul draws a moustache on a photograph of Amiya’s brother. This incident  elevates the narrative to a level where an entire architecture of double identity (one persona with the moustache; one without) gets unleashed upon the viewer. it gets sustained with the careful internal logic that all great farce requires. Ray introduced this particular brand of “moustache punning” to Indian cinema a full decade before Hrishikesh Mukherjee’s beloved Gol Maal (1979) made the device famous in Hindi film. Priority, one feels, should be acknowledged.

In Wodehouse’s world, physical disguise and mistaken identity are the load-bearing columns of the comic architecture. Much Obliged, Jeeves, The Mating Season, The Code of the Woosters,  Big Money—in story after story, the elaborate management of who thinks whom is who drives the plot forward. Ray understood this mechanism well  and deployed it with characteristic economy: never a beat wasted, never a joke pushed past its natural life.

There is also, finally, the matter of Sudden Resolution—what one might call the Wodehousean Restoration of Order. In Plum’s world, however catastrophic the muddle, the final pages deliver every character to their appropriate goal , no bitterness permitted, no score unsettled. It is, as Wodehouse himself put it, a world “two inches above the surface of the earth”—a place where unhappy endings are simply not allowed. Baksa Badal achieves this same smooth, frictionless landing. The suitcases are returned. The right people find one another. And the uncle, one imagines, is finally left free to potter about amongst his plants.

A (Belated) Birthday Tribute

I do not pretend to be worthy  enough of being able to judge a colossus. Satyajit Ray remains, as he has always been, my favourite—followed closely, in a different register, by Wodehouse. What Baksa Badal represents, to my mind, is something rarer than influence and more graceful than homage: it is the act of a supreme artist absorbing his deepest pleasure and returning it, transformed, in his own idiom. The Bengali soul of the film is never in doubt—the tea gardens, the Kalimpong hills, the particular social textures of middle-class Bengal—and yet, threaded invisibly through it, is the sunlit comic universe of Pelham Grenville Wodehouse.

This, I believe, is the mark of  the greatest creators. They carry their loves inside their work like light inside a lantern—invisible from the outside until you hold the thing up to the flame and see, suddenly, the pattern within.

Wodehouse wrote that his ideal was to take “a handful of people and ring the changes on them.” Ray did precisely this in Baksa Badal—and rang them in Bengali, on a hillside, a stolen moustache, and made something wholly and unmistakably his own.

But behind your achievement, the achievement of another remains.

That is not diminishment. In Ray’s case, it is the highest compliment one can pay: that he was capacious enough to carry Wodehouse within him, and confident enough in his own genius to let the presence show—like a watermark, visible only when you know to look, and glorious when you do.

Belated happy birthday, “Manik-da” (as Ray is famously known as). The suitcases, it turns out, were never really swapped at all. Everything arrived exactly where it was meant to go.

“The object of the writer is to charm, to amuse, and to interest.” — P.G. Wodehouse

Baksa Badal (1970) did all three. And it did so because two giants, born on different continents and dishing out creative stuff in different time zones, turned out to share the same understanding of what comedy, at its finest, is actually for. (Ray was born on the 2nd of May, 1921 and left us on the 23rd of April, 1992. Plum was born on the 15th of October, 1881 and left us on the 14th of February, 1975.)

After all, humour is not merely a tool for propelling a narrative. It is the garnishing that creative geniuses deploy to make their offerings more palatable to their audience’s mental hunger, which is forever seeking an inner bliss which would transport them to a more equitable, fair, and just world.

Related Post

Read Full Post »

Read Full Post »

Read Full Post »

Older Posts »